1) Church Modes

Authentic Modes	Basic Octave	Plagal Modes	Basic Octave
1) Dorian	D-D	2) Hypodorian	A-A
3) Phrygian	E-E	4) Hypohrygian	B-B
5) Lydian	F-F	6) Hypolydian	C-C
7) Mixolydian	G-G	8) Hypomixolydian	D-D

Authentic Modes: Reciting tone (tenor) is 5th above the final. If the reciting tone falls on B it is moved to C (ex. Phrygian).
Plagal Modes: Reciting tone is 3rd below the tenor of the corresponding Authentic modes. If it falls on B it is moved up to C (ex Hypomixolydian).
Final: The first note of each authentic mode is the final. The corresponding plagal mode share the same final.
Example: Dorian and Hypodorian have D as the final.
Tenor: (reciting tone) (Dr. Taylor- Are the terms reciting tone and tenor synonymous?)
The corresponding plagal mode's basic range is always a 4th below the starting tone (final) of the corresponding authentic mode.

Heinrich Glareanus (1488-1563) added A (Aeolian) and C (Ionian) and corresponding plagal modes to the taxonomy of modes.
Gioseffo Zarlino (1517-1590) reorganized Glareanus taxonomy placing C first.
1) C Ionian 3) D Dorian 5) E Phrygian 7) F Lydian 9) G Mixolydian 11) A Aeolian

2) Rhythmic Modes

Terms:
Ligature- Nueme-like note shape used to indicate short rhythmic patterns in12-16th century notation.

3) Organum Structure and Organization

1) Leonin-style Organum - 2 voices in Tenor range -

Monophonic Chant	Florid-Organum	Discant
Choir	Soloists
	Duplum-stepwise expansive melismas	mode 1 (frequently)
Memorized	Tenor-Long unmeasured tones	mode 5 (frequently) series of longs

Comparison: Aquitianian-polyphany has similar characteristics to Notre-Dame polyphony but has shorter florid-organum and discant passages.
2) Perotin-style Substitute clausulae - 3 (and 4) voices in Tenor range -

		Organum	Discant sections
	Upper voices	Measured Phrases in modal rhythm	Upper vioc
	Tenor	Long notes	Short repeating rhythmic motive
	Cohesive devises	1) repeats phrase in one voice while other voices change 2) repeat a phrase in another voice 3) vioce exchange
	Characteristics	Striking dissonances resolving to a 5th or 8th in upper voices.

4) Cadence Formulas

13th century	14th century	15th century 1st 1/2	15th century 2nd 1/2
6<8 3<5	M6<8 M3<5
Dorian Phrygian Mixolydian "OnC"	DLT on DG and C Phrygian Mixolydian Landini	Vii06-1 30%V-I (Pre-har) 22%V-1 17%DLT 15%Phrygian 4%Plagal 1ish%Other 11%Landini embellishment 33%	V-1 65% Plagal 14% V-I (Pre-har) 8% Phrygian 6% Vii06-1 5% Other 2 % DLT 0 % Landini embellishment 2%
	Cadences are also transposed to F. Interior cadences contain no 3rds Cadences in the top voice may be 5 or 8

5) Isorhythm

Repetition in a voice part (Usually the Tenor) of an extended pattern of durations throughout a section or an entire composition.
Ars Antiga – The writing style of the 13th century. Jaques de Liege (Flemish) defended
Isorhythmic Motet (13th century) – Tenor is laid out in log complex segments of identical rhythm compared to practice in 13th century. Tenor is very slow (Grout 121).
Two recurring elements of Motet Tenors in 14th century motets.
Talea – The repeating rhythmic unit
Color – The recurring segment of melody
The elements can be the same length, beginning and ending together but commonly the color may extent over two or three talea. Additionally the Color can repeat in te middle of a Talea. Upper voices may be organized isorhythmicaly in whole or part to emphasize recurring parts in the tenor (Grout 121).

6) Paraphrase- Technique:

A compositional technique in which a Chant or other Melody is reworked, often by altering rhythms and adding Notes, and placed in a Polyphonic setting.
Paraphrase Mass- Polyphonic Mass in which each movement is based the same monophonic melody, usually a chant, which is paraphrased in most or all of the other voices rather than being used as a Cantus-Firmus in one voice. (Grout A14)
Alternatum Setting (versus sung in monophonic chant alternating with versus sung in polyphonic setting)

7) The Polyphonic Mass:

In the 15th century it became standard practice to set a five parts the Ordinary Mass (Ordinary-Kyrie, Gloria,Credo,Santus, Agnus Dei) as a coherent whole. English composers Dustable and Leonel Power were among the first.
Grouping the Ordinary Mass into cycles started in the 13th century with cycles of Ordinary chants. Composers of the 15th century used various means to develop coherence between settings. Examples are first composing all parts in the same general style (freely composed or paraphrased in upper vioces). Second, a chant based, or other as a cantus firmus in the tenor. Third, a Plainsong mass involves basing each movement on existing chant. (Machaunts mass is an example of plainsong mass.) Fourth, a Motto mass is created by using the same thematic material in all movements of the mass and was commonly done in the 15th century. The practice involved beginning each movement with the same melodic motive (head motive) in one or all of the voices as the primary linking device. Fifth, Cantus- Firmus Mass.
Cantus- Firmus Mass (Tenor-Mass) – The head motive combined with constructing each one around the same cantus-firmus usually placed in the tenor. English composers wrote the earliest versions of tenor-masses. By the middle of the 15th century the practice became standard throughout Europe.
Cantus- Firmus Imitation-Mass

Cantus- Firmus Mass
Cantus Firmus written as long notes in isorythmic pattern.	If melody was a chant a rhythm was imposed upon it.
	If melody was a secular melody the songs original rhythm was retained but rhythm could be augmented or diminished interrelation to other voices.
Texture	Early in three voices following Motet tradition
Cantus- Firmus Imitation-Mass
Tenor used from polyphonic chanson	Borrowed elements of other voices as well

8) Renaissance Imitative Counterpoint: